Local Radio stations

Name	Format	FM frequencies	Other frequencies	DAB	Freeview	Freest	Sky	Virgin	British Telecom
Absolute 80s	Music from the 1980s			11A		726	0200	951
Absolute Radio	Adult-orientated pop/rock Music	105.8 FM (London), 105.2 FM (West Midlands)	1197, 1215, 1233, 1242 and 1260 MW	11D (England, Wales and Northern Ireland) 12A (Scotland)	727	724	0107	915
Absolute Radio 90s	Music from the 1990s			11D (England, Wales and Northern Ireland) 12A (Scotland)			0201
BBC Asian Network	News, features and music for British Asians		837 MW (Leicestershire) 1449 (Peterborough) 1458 (Birmingham & West Midlands) 828 (Wolverhampton)	12B	709	709	0119	912
BBC Radio 1	Youth-orientated pop music and talk	97.7 - 99.8 FM		12B	700	700	0101	901
BBC Radio 1Xtra	Urban music, hip hop, drum'n'bass			12B	701	701	0137	907
BBC Radio 2	Adult-orientated pop music (classics & current) and talk	88.1 - 90.2 FM		12B	702	702	0102	902
BBC Radio 3	classical and serious music, drama	90.2 - 92.4 FM		12B	703	703	0103	903
BBC Radio 4 FM	News, documentary, drama, comedy	92.5 - 96.1 FM 103.5 - 104.9		12B	704	704	0104	904
BBC Radio 4 LW	News, documentary, drama, comedy		198 LW 720 MW in London plus Plymouth 774, Hayle (Cornwall) 756, Newcastle 603, Carlisle 1485, Aberdeen 1449, Enniskillen 774, Lisburn 720, Derry 720 and Glasgow 720	12B		710	0143	911
BBC Radio 4 Extra	Comedy, drama and discussion			12B	708	708	0131	910
BBC Radio 5 Live	News and sport		909, 693, 990 MW	12B	705	705	0105	905
BBC Radio 5 Live Sports Extra	Extended coverage of sporting fixtures			12B	706	706	0144	908
BBC Radio 6 Music	Young adult-orientated music			12B	707	707	0120	909
BBC World Service	News and features			12B	710	711	0115	906
Capital	Hit music	95.8 FM (London)		11D (England, Wales and Northern Ireland) 12A (Scotland)	724	719	0109	958
Capital Xtra	Hip hop and RnB	96.9 and 107.1 FM (London)		11D (England, Wales and Northern Ireland) 12A (Scotland)		720	0144	959
Classic FM	Classical music	99.9-101.9 FM		11D (England, Wales and Northern Ireland) 12A (Scotland)	731	721	0106	922
Heart 80s	Music from the 1980s			11D (England, Wales and Northern Ireland) 12A (Scotland)			0112	921
Heart Extra	Adult contemporary music	60% of programming shared with Heart London on 106.2 FM		11D (England, Wales and Northern Ireland) 12A (Scotland)
Heart Radio	Pop music, celebrity gossip and entertainment	102.7 FM (East Anglia)		11A	716
Kiss	Dance and RnB	100.0 FM (London), 101.0 and 97.2 FM in (Severn Estuary/South Wales), 105.6, 106.1, 106.4, 107.7 (East Anglia)		11D (England, Wales and Northern Ireland) 12A (Scotland)	713		0178	963
Kisstory	Old school dance tunes and anthems			11A	714
LBC	News, talk and phone-ins	97.3 FM (London)		11D (England, Wales and Northern Ireland) 12A (Scotland)	732	974	0124	919
Magic 105.4 FM	Adult contemporary	105.4 FM (London)		11D (England, Wales and Northern Ireland) 12A (Scotland)	715		0180	928
Planet Rock	Classic rock			11A		730	0110	924
Premier Praise	Christian radio station			11A
Premier Radio	Christian radio station		1305, 1332 and 1413 MW (London) 1566 MW (Guildford)	11A	725		0123
Radio X	Modern rock music	104.9 FM (London), 97.7 (Manchester)		11D (England, Wales and Northern Ireland) 12A (Scotland)		723	0113	960
Smooth Extra	Adult contemporary music	60% of programming shared with Smooth Radio London on 102.2 FM		11D (England, Wales and Northern Ireland) 12A (Scotland)			0146
Sunrise Radio	Asian music and speech		963/972 MW in London	11A
talkRADIO	Talk and phone-ins			11A Also available on local DAB in Aberdeen
talkSPORT	Sport and phone-ins		1053, 1089, 1071, 1107 MW	11D (England, Wales and Northern Ireland) 12A (Scotland)  Also available on local DAB in London and Scotland	723	731	0108	927
talkSPORT 2	Sports programming and commentaries			11A Also available on local DAB in Aberdeen
UCB 1	Christian radio station			11D (England, Wales and Northern Ireland) 12A (Scotland)
UCB 2	Christian radio station			11A
Virgin Radio	Adult-orientated pop/rock music			11A Also available on local DAB in Aberdeen

A house with a clock in the walls

The House with a Clock in Its Walls
Theatrical release poster
Directed by	Eli Roth
Produced by	Brad Fischer James Vanderbilt Eric Kripke
Written by	Eric Kripke
Based on	The House with a Clock in Its Walls by John Bellairs
Starring	Jack Black Cate Blanchett Owen Vaccaro Renée Elise Goldsberry Sunny Suljic Kyle MacLachlan
Music by	Nathan Barr
Cinematography	Rogier Stoffers
Edited by	Fred Raskin
Production company	Amblin Entertainment Reliance Entertainment Mythology Entertainment Amblin Partners
Distributed by	Universal Pictures
Release date	September 21, 2018(United States)
Running time	105 minutes[1]
Country	United States
Language	English
Budget	$42 million[2]
Box office	$40.3 million[2]

The House with a Clock in Its Walls is a 2018 American fantasy film directed by Eli Roth, based on the 1973 juvenile fiction novel of the same name by John Bellairs. The film stars Jack Black, Cate Blanchett, Owen Vaccaro, Renée Elise Goldsberry, Sunny Suljic, and Kyle MacLachlan, and follows a young boy who goes to live with his uncle in a creaky old house. He soon learns it is haunted by the ghost of his uncle's former friend, who is about to end the world with a clock he had made and hidden within the house.

I loved this film as it contained magic and mystery, all the things which make an amazing family film. although it scared my mum in a couple of the scenes, it ended up being an amazing film to watch on a rainy day.

Van Zoonen newspaper essay

Newspaper essay.

 Patriarchy can be defined as a social system in which men hold power in areas of political leadership, moral authority, social privilege and control of property. Van Zoonen argues that in a patriarchal society, gender is performative and we understand masculinity and femininity by what we do rather than who we are. In relation to the news, patriarchy can be applied to the ownership and control of newspapers, the political ethos and selection processes of the newspapers’ editors and the representations of gender they construct. The representations offered in both Sources A and B can be seen to mostly support Van Zoonen’s concept of patriarchy. Patriarchal power can be seen in the representations provided in both sources as the Farah’s (sir Mo and Lady Farah) great north run, finishing photo dominates the front pages. This reinforces the patriarchal assumption that the stereotypically masculine public arena of male authority and leadership is more important and interesting than the private realm of women, which is seen to be more stereotypically domesticated and nurturing. Mo Farah has a much higher news value than his wife, because he is the more famous Olympic champion, this is exemplified then the caption which reads “Sir Mo Farah and his wife” Lady Tanya would never have made the front page on her own. Which reinforce that sport is supposedly a male domain. Contrasting with the Anne Robinson on the skyline in the daily mail, “green soup which made me lose half a stone”. Which may appeal to their female readers - they would understand this reference to their gender role as some who needs to be concerned with their physical appearance.

 Although each source constructs the same Boris Johnson story in a different way, the connotations offered are the same and the way they are physically constructed further reinforces patriarchy. Both headlines use words from the semantic field of war; “triggers” “mayhem”, empathising the full extent of his power to create unrest. Anchoring the idea of masculinity and leadership. The daily mail offers up the idea to the end of Boris’s ‘attempts’ to reach number 10 by stating “12 MP’s vow to keep him out of No10”. This is referencing the idea that Johnson could make a leadership challenge. The idea that there is a male leadership is in line with the idea there is a male leadership within politics. The daily mail shows on the main image of an emotional Boris Johnson in a close up, suggesting that we understand patriarchal ideology and are able to infer meaning around gender roles and performances through the use of these simple signifiers. Further reinforcing patriarchal ideas about male authority and knowledge in response to the lead story but also the social privilege of men within the news industry itself.

The Times uses a clear symmetry on the front-page layout, which is provided by the masthead, headline and main image to offer a more ‘rational’ or balanced account than the guardian. This layout works as a signifier to reinforce patriarchal assumptions around gender with masculinity stereotypically considered logical and rational. The political context of the impact of Brexit and politics as patriarchal is also evident in the representations created in both sources. The daily mail’s use of a close up of Johnson’s ‘emotional’ reaction to the current allegations about his affair also supports patriarchal values: an image of Boris looking to the ground, with downturned mouth, connotes he has failed in his role as a husband and therefore his masculine performance.

In contrast, the image chosen of Lady Tania Farah looking happy with a smile and holding her husband’s hand, implies she appears not to notice, or care, about the media reporters taking her photo. This contradicts Van Zoonen’s ideas of male dominance in the sporting industry. Therefore highlighting a more ‘modern’ expectation of gender. However, whilst Lady Tania is represented as an equal yet caring wife, it still shows Mo as dominant and in control of his wife’s destiny as he is the one who is known as a household name. Yet the idea of ‘modern’ gender roles is supported by the appearance of androgenous model Rain Dove on The Guardian’s skyline introducing the idea of ‘gender capitalism’. The prominence of strong women in The Guardian suggests that even within a patriarchal society, gender roles and performances are subject to the time and culture in which we live and are possibly more fluid than papers such as The Daily Mail would like us to think.

music video collage

This is a collage of dance music videos!!

Conventions

please see linked:


https://www.slideshare.net/jamsjamsjams/conventions-of-music-videos-2935597

The History Of Music Videos

1981–1991: Music videos go mainstream[edit]

In 1981, the U.S. video channel MTV launched, airing "Video Killed the Radio Star" and beginning an era of 24-hour-a-day music on television. With this new outlet for material, the music video would, by the mid-1980s, grow to play a central role in popular music marketing. Many important acts of this period, most notably Adam and the Ants, Duran Duran and Madonna, owed a great deal of their success to the skillful construction and seductive appeal of their videos.

Two key innovations in the development of the modern music video were the development of relatively inexpensive and easy-to-use video recording and editing equipment, and the development of visual effects created with techniques such as image compositing.^{[citation needed]} The advent of high-quality color videotape recorders and portable video cameras coincided with the DIY ethos of the new wave era,^{[citation needed]} enabling many pop acts to produce promotional videos quickly and cheaply, in comparison to the relatively high costs of using film. However, as the genre developed, music video directors increasingly turned to 35 mm film as the preferred medium, while others mixed film and video. During the 1980s, music videos had become de rigueur for most recording artists. The phenomenon was famously parodied by BBC television comedy program Not The Nine O'Clock News who produced a spoof music video "Nice Video, Shame About The Song". (The title was a spoof of a recent pop hit "Nice Legs, Shame About Her Face")

In this period, directors and the acts they worked with began to explore and expand the form and style of the genre, using more sophisticated effects in their videos, mixing film and video, and adding a storyline or plot to the music video. Occasionally videos were made in a non-representational form, in which the musical artist was not shown. Because music videos are mainly intended to promote the artist, such videos are comparatively rare; three early 1980s examples are Bruce Springsteen's "Atlantic City", directed by Arnold Levine, David Mallet's video for David Bowie and Queen's "Under Pressure", and Ian Emes' video for Duran Duran's "The Chauffeur". One notable later example of the non-representational style is Bill Konersman's innovative 1987 video for Prince's "Sign o' the Times"^[36] – influenced by Dylan's "Subterranean Homesick Blues" clip, it featured only the text of the song's lyrics.

In the early 1980s, music videos also began to explore political and social themes. Examples include the music videos for David Bowie's "China Girl" and "Let's Dance" (1983) which both explored race issues.^[37] In a 1983 interview, Bowie spoke about the importance of using music videos in addressing social issues, "Let's try to use the video format as a platform for some kind of social observation, and not just waste it on trotting out and trying to enhance the public image of the singer involved".^[38]

In 1983, the most successful, influential and iconic music video of all time was released: the nearly 14-minute-long video for Michael Jackson's song "Thriller", directed by John Landis. The video set new standards for production, having cost US$800,000 to film.^[39][40] The video for "Thriller", along with earlier videos by Jackson for his songs "Billie Jean" and "Beat It", were instrumental in getting music videos by African American artists played on MTV. Prior to Jackson's success, videos by African-American artists were rarely played on MTV: according to MTV, this was because it initially conceived itself as a rock-music-oriented channel, although musician Rick James was outspoken in his criticism of the cable channel, claiming in 1983 that MTV's refusal to air the music video for his song "Super Freak" and clips by other African-American performers was "blatant racism".^[41] David Bowie had also previously lashed out against MTV during an interview that he did with them prior to the release of "Thriller", stating that he was "floored" by how much MTV neglected black artists, bringing attention to how the "few black artists that one does see" only appeared between 2:00 until 6:00 in the morning when nobody was watching.^[42]

On March 5, 1983, Country Music Television, or CMT, was launched,^[43] created and founded by Glenn D. Daniels and uplinked from the Video World Productions facility in Hendersonville, Tennessee. The MuchMusic music channel was launched in Canada in 1984. In 1984, MTV also launched the MTV Video Music Awards (later to be known as the VMA's), an annual awards event that would come to underscore MTV's importance in the music industry. The inaugural event rewarded the Beatles and David Bowie with the Video Vanguard Award for their work in pioneering the music video.

In 1985, MTV launched the channel VH1 (then known as "VH-1: Video Hits One"), featuring softer music, and meant to cater to the slightly older baby-boomer demographic who were out-growing MTV. MTV Europe was launched in 1987, and MTV Asia in 1991. Another important development in music videos was the launch of The Chart Show on the UK's Channel 4 in 1986. This was a program which consisted entirely of music videos (the only outlet many videos had on British TV at the time^{[citation needed]}), without presenters. Instead, the videos were linked by then state of the art computer graphics. The show moved to ITV in 1989.

The video for the 1985 Dire Straits song "Money for Nothing" made pioneering use of computer animation, and helped make the song an international hit. The song itself was a wry comment on the music-video phenomenon, sung from the point of view of an appliance deliveryman both drawn to and repelled by the outlandish images and personalities that appeared on MTV. In 1986, Peter Gabriel's song "Sledgehammer" used special effects and animation techniques developed by British studio Aardman Animation. The video for "Sledgehammer" would go on to be a phenomenal success^[44] and win nine MTV Video Music Awards.

In 1988, the MTV show Yo! MTV Raps debuted; the show helped to bring hip hop music to a mass audience for the first time.

1992–2004: Rise of the directors[edit]

In November 1992, MTV began listing directors with the artist and song credits, reflecting the fact that music videos had increasingly become an auteur's medium. Directors such as Chris Cunningham, Michel Gondry, Spike Jonze, Floria Sigismondi,^[45] Stéphane Sednaoui, Mark Romanek and Hype Williams all got their start around this time; all brought a unique vision and style to the videos they directed. Some of these directors, including, Gondry, Jonze, Sigismondi,^[46] and F. Gary Gray, went on to direct feature films. This continued a trend that had begun earlier with directors such as Lasse Hallström and David Fincher.

Two of the videos directed by Romanek in 1995 are notable for being two of the three most expensive music videos of all time: Michael and Janet Jackson's "Scream", which allegedly cost $7 million to produce, and Madonna's "Bedtime Story", which cost a reported $5 million. From this, "Scream" is the most expensive video to date. In the mid to late 1990s, Walter Stern directed "Firestarter" by The Prodigy, "Bitter Sweet Symphony" by The Verve, and "Teardrop" by Massive Attack.^[47][48] During this period, MTV launched channels around the world to show music videos produced in each local market: MTV Latin America in 1993, MTV India in 1996, and MTV Mandarin in 1997, among others. MTV2, originally called "M2" and meant to show more alternative and older music videos, debuted in 1996.

information from: https://en.wikipedia.org/wiki/Music_video